URB 202 / VIS 200 / HIS 202 / HUM 202·Fall 2017

This urban studies seminar in history and documentary filmmaking focuses on Trenton's unrest of April 1968, when a black college student, Harlan Joseph, was shot and killed by a white police officer. The course works outward from these events to examine the 1960s, race, region, economy, memory, and media representation.

VIS 214 / ARC 214 / CWR 214·Fall 2017

This studio course will introduce students to the essential aspects and skills of graphic design, and will analyze and discuss the increasingly vital role that non-verbal, graphic information plays in all areas of professional life, from fine art and book design to social networking and the Internet.

VIS 215 / CWR 215·Fall 2017

This studio course introduces students to graphic design with a particular emphasis on typography. Students learn typographic history through lectures that highlight major shifts in print technologies and through their engagement in studio design projects.

VIS 216·Fall 2017

This course introduces students to techniques for decoding and creating graphic messages in a variety of media, and delves into issues related to visual literacy through the hands-on making and analysis of graphic form.

VIS 220·Fall 2017

This studio production class will engage in a variety of timed-based collage, composition, visualization, and storytelling techniques. Students will be taught the fundamental techniques of 2D animation production.

DAN 223 / AAS 223 / VIS 224·Fall 2017

Using an interdisciplinary visual and performance studies approach to explore various sites of contemporary art practices, this course will provide an introduction to radical performance practices through which artists consider the gendered and racialized body that circulates in the public domain, both onstage and off.

VIS 263·Fall 2017

In the real world, what relationships have the necessary friction to generate compelling films? Documentary Filmmaking will introduce you to the craft, history and theory behind attempts to answer this question.

VIS 307 / AAS 307·Fall 2017

This seminar will frame the idea of black film as a visual negotiation between film as art and the discursivity of race, rather than black film as a demographic, or a genre, or a reflection of the black experience, or something bound by a representational politics of positive and negative stereotypes.

VIS 308·Fall 2017

To become a working filmmaker today, one has to master the short film—being a filmmaker no longer means creating feature films exclusively, if at all. This course will focus on the technical challenges of being short as well as the conceptual challenge of being funny.

VIS 322·Fall 2017

In this class we will work in multiple media, such as photography, video, text, sculpture, and drawing prompted by Princeton University’s vast archives and collections. We will look at and think about art works that tell alternate histories by excavating archives, artists who work through various visual media to probe the politics of flower arrangements, the history of hip hop, to re-arrange museum collections and private photography collections from the middle east, artists who speculate and build possible stories through obscure artifacts such as private letters and merchandize receipts, and much, much more. We will work in multiple media while thinking about archives, artifacts, traces, collective and cultural memory, public monuments, alternate understandings of history and canons. What role does fiction have in a research based practice?

VIS 401·Fall 2017

This course is designed to teach students the skills necessary for drawing human figures as volumetric structures in clearly defined, illusionistic space. Exercises will investigate the dynamics of human bodies, light and shadow, tonal drawing, and hatchure.

VIS 418 / CEE 418·Fall 2017

This course investigates the processes through which the ordinary can be transformed into the extraordinary. Fall 2017 will focus on the strategic challenge of turning waste material into a viable consumer product.